吉爾伯特和喬治（Gilbert & George）

(1984年獲“透納獎(jiǎng)”提名，1986年獲得“透納獎(jiǎng)”)

生于1943，生于1942

英國(guó)雕塑家。吉爾伯特?普勒施（1943年9月17日，生于意大利圣馬蒂諾）和喬治?帕斯莫爾（1942年1月8日生于德文郡普利茅斯）相識(shí)于1967年，當(dāng)時(shí)他們都在倫敦的圣馬丁藝術(shù)學(xué)院學(xué)習(xí)。到1969年，他們開(kāi)始共同反對(duì)當(dāng)時(shí)盛行于圣馬丁學(xué)院的雕塑方法，因?yàn)樗麄冋J(rèn)為這樣的方法是精英化的，很難與藝術(shù)界之外溝通。他們的策略是把自己做成雕塑，為藝術(shù)犧牲自己的個(gè)人身份，激發(fā)創(chuàng)造性的思維。

雖然他們的作品包括了各種媒介，但是吉爾伯特和喬治仍然把自己所有的作品都稱作雕塑。1970至1974年間，他們也創(chuàng)作了木炭畫(huà)（被稱作“紙上雕塑的木炭畫(huà)”）和油畫(huà)，突出表現(xiàn)了他們“活體雕塑”的身份。

1971年，吉爾伯特和喬治創(chuàng)作了他們的首張“照片作”，此后成為了他們主要的表現(xiàn)形式。他們漸漸將創(chuàng)作主題的重點(diǎn)從自己的生活體驗(yàn)中轉(zhuǎn)移開(kāi)，而專注于在街上見(jiàn)到的都市現(xiàn)實(shí)生活和種種影響生活的結(jié)構(gòu)與感情，例如宗教、階級(jí)、皇室、性、希望、國(guó)籍、死亡、身份、政治和恐懼等。20世紀(jì)90年代初，他們通過(guò)在莫斯科（1990）、北京和上海（1993）的一系列展覽，使人們重新關(guān)注他們“為人生而藝術(shù)”和“全民藝術(shù)”的思想。這些展覽突出表現(xiàn)了他們的信念：藝術(shù)仍然可以打破隔膜。

Gilbert & George

(nominated for Turner Prize in 1984 / won in 1986)

born 1943, born 1942

They are British sculptors. Gilbert Proesch (b Dolomites, Italy, 17 Sept 1943) and George Passmore (b Plymouth, Devon, 8 Jan 1942) met in 1967 as students at St Martin's School of Art in London. By 1969 they were reacting against approaches to sculpture then dominant at St Martin's, which they regarded as elitist and poor at communicating outside an art context. Their strategy was to make themselves into sculpture, so sacrificing their separate identities to art and turning the notion of creativity on its head.

Although working in a variety of media, Gilbert and George referred to all their work as sculpture. Between 1970 and 1974 they also made drawings (referred to as Charcoal on Paper Sculptures) and paintings to give a more tangible form to their identity as ‘living sculptures'.

In 1971 Gilbert & George made their first ‘photo-pieces', which remained their dominant form of expression. They gradually shifted the emphasis of their subject-matter away from their own experiences of life. Instead they concentrated on the inner-city reality that confronted them on the street and on the structures and feelings that inform life such as religion, class, royalty, sex, hope, nationality, death, identity, politics and fear. Their belief that they are making an ‘Art for Life's Sake' and an ‘Art for All' was, at the beginning of the 1990s, given a renewed emphasis through their exhibitions mounted in Moscow (1990), Beijing and Shanghai (1993). These exhibitions underline their belief that art can still positively break down barriers.